One of the famous Russian composers and a pianist himself, Sergei Prokofiev (1891–1953) composed a vast quantity of piano music. His nine piano sonatas represent well how he projected his musical individuality and the principles that he addressed in his autobiography: classical line, modern trend, toccata line, lyrical line, and grotesque line. However, even though Prokofiev's piano sonatas are considered one of the important collections in the piano repertoire, not all of them have gained popularity and only a few tend to be frequently performed by pianists today. For this reason, this dissertation focuses on one of his less-performed piano sonatas, No. 4 in C minor, Op. 29. The pianists György Sándor and Boris Berman were chosen as specialists in Prokofiev's piano works, and their performance editions and recordings are analyzed and compared as main references. This study provides analysis and a performance guide to this piano sonata. This guide discusses pedaling, fingering, phrasing, touch, voicing, tempo suggestion, articulation, hand distribution, and expression.

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Tableau d’honneur de la Faculté des études supérieures et postdoctorales, 2014-2015 / Situé aux frontières entre les études de réception et les travaux sur l’histoire des idées, notre mémoire propose qu’en temps de crise épistémologique, la critique acquiert une fonction heuristique qui permet de se réapproprier le réel ébranlé par les changements paradigmatiques et désormais inconcevable. Nous étudierons donc comment une œuvre emblématique de la modernité – Le Sacre du printemps de Stravinsky – participe à la transformation de l’acte critique en forçant l’élaboration d’outils discursifs et épistémologiques qui pourront rendre compte de la nouveauté que représente la musique de Stravinsky, de sorte qu’elle répondra aux nouveaux besoin de l’époque et sera intégrée à l’horizon d’attente. Grâce à de nouveaux moyens critiques par eux élaborés, mais aussi par une mise au point esthétique, Jacques Rivière, Jean Cocteau et Boris de Schlœzer parviendront à ce qu’on appellera la « normalisation » esthétique de Stravinsky, à travers laquelle ils parviendront à nouveau à lire leur époque.

Cette présente étude répond aux trois questions de recherche suivantes : Y-a-t-il une épistémologie africaine (francophone) ? Comment la méthodologie de la recherche littéraire se définit-elle ? Quelles sont les méthodes exactes employées par la recherche littéraire dans un contexte africain ? En nous appuyant sur l’oeuvre philosophique de Paulin J. Hountondji nous avons développé un concept de savoir africain. En l’absence des théories africaines sur la recherche littéraire nous recourrons aux théories formulées dans un contexte européen, par des chercheurs tels que Kathrin Busch, Ivan Jablonka et Corina Caduff. Ensuite, quatre oeuvres littéraires africaines, Wala Bok. Une histoire orale du hip hop au Sénégal de Fatou Kandé Senghor, Bribes d’une vie nigériane de Françoise Ugochukwu, La Gloire des imposteurs, lettres sur le Mali et l’Afrique d’Aminata Dramane Traoré et de Boubacar Boris Diop et Bogo. Notes de travail chez des potières à Bamako d’Emmanuelle Samson ont été analysées pour identifier les méthodes exactes employées par la recherche littéraire en Afrique. / This study answers the following three research questions : Does an African (francophone) epistemology exist ? How is the methodology of literary research defined ? What are the exact methods used by literary research in Africa ? Building on the philosophical work of Paulin J. Hountondji we develop a concept of African knowledge. In the absence of African theories of literary research we call upon European theories proposed by researchers such as Kathrin Busch, Ivan Jablonka and Corina Caduff. Next, four literary works, Wala Bok. Une histoire orale du hip hop au Sénégal by Fatou Kandé Senghor, Bribes d’une vie nigériane by Françoise Ugochukwu, La Gloire des imposteurs, lettres sur le Mali et l’Afrique by Aminata Dramane Traoré and Boubacar Boris Diop and Bogo. Notes de travail chez des potières à Bamako by Emmanuelle Samson are analyzed to identify the exact literary research methods used in Africa.

L’objet de cette thèse est de replacer la Constitution de la Fédération de Russie, adoptée par référendum le 12 décembre 1993, dans ses différents contextes de production. En effet, ce texte juridique est à la fois le produit d’une Histoire courte et d’une Histoire longue, d’un conflit intra-élite et d’une somme de représentations héritées des périodes précédentes et reconstruites à la fin des années 80 et au début des années 90. Ainsi, il ne semblait pas suffisamment pertinent de limiter notre étude au processus rédactionnel proprement dit, entamé à l’été 1990. Nous avons pris le parti de tenter de reconstituer ce que pouvait être l’« épistémè », les représentations politico-juridiques, des acteurs ayant joué un rôle décisif dans la discussion de la Constitution. Ce parti nécessitait de retracer les occurrences les plus significatives de l’Histoire du droit et des institutions en Russie tsariste et en Union Soviétique. Cette démarche fait l’objet de la première partie de la Thèse, « La Péréstroïka comme réceptacle, révolution et modèle ». Il ressort de l’analyse que malgré la présence de traditions intellectuelles libérales et d’institutions proto-parlementaires, la tradition dominante, et acceptée comme telle par les rédacteurs de la Constitution russe, est largement antijuridique et autoritaire. C’est dans ce contexte que les acteurs de la Ière République russe ont cherché à puiser dans les modèles étrangers (américain et français en particulier) et les modèles théoriques du Droit constitutionnel (régime parlementaire et régime présidentiel) pour créer le nouvel agencement institutionnel. La seconde partie de la thèse, « Le processus de rédaction de la Constitution de 1993 », porte sur l’Histoire courte, c’est-à-dire sur les années 1990-1993 qui ont vu s’affronter deux camps, tant sur le plan politique que constitutionnel. Le camp du Congrès des députés du peuple emmené par son Président Rouslan Khasboulatov défendait un projet permettant d’assurer la domination du Parlement, alors que le camp du Président de la Fédération, emmené par Boris Eltsine, cherchait à imposer un projet assurant à la présidence une position dominante. De part et d’autre, les modèles empiriques et théoriques du Droit constitutionnel furent instrumentalisés et largement trahis. Entre ces deux camps, la Commission constitutionnelle crée au sein du Congrès des députés du peuple cherchait, à travers ses différents projets, à trouver un agencement équilibré nourri des expériences étrangères et de la science du Droit constitutionnel. Le camp de la présidence réussit finalement à faire prévaloir ses vues, dans le cadre d’une Conférence constitutionnelle organisée en juin 1993, mais surtout par sa victoire politique sur le camp du Congrès suite à la crise d’octobre 1993. Le texte adopté par référendum le 12 décembre 1993, très favorable à la Présidence, peut être considéré comme l’héritier de ce conflit, mais également en partie comme l’héritier des traditions politiques russes et soviétiques. / The aim of this dissertation is to analyse the Constitution of the Russian Federation passed by referendum on 12 December 1993, in its various contexts of production. Indeed, this legal text is both the result of a short history and of a long history, of an intra-elite conflict and of an amount of representations, inherited from the past and rebuilt at the end of the 80’s and at the beginning of the 90’s. We chose to attempt to reconstruct what has been the « épistémè », the legal and political representations of the key actors of the constitutional discussions. This choice made it necessary to recount the most significant facts and conceptions of the legal and institutional history of Tsarist Russia and Soviet Union. This approach is found in the first part of this dissertation, « Perestroika as a recipient, a revolution and a model ». It appears that despite the existence of liberal traditions and proto-parliamentary institutions, the dominant tradition, granted as such by the drafters of the Russian Constitution, is basically anti-juridical and authoritarian. It is in this context that the actors of the first Russian Republic tried to use foreign patterns (mostly American and French) and the theoretical patterns of Constitutional law (parliamentary regime and presidential regime) in order to create the new institutional design. The second part of the dissertation, « The redaction process of the Constitution of 1993 », deals with short history, that is years the 1990-1993 during which two sides challenged each other, both on a political and on constitutional grounds. The side of the Congress of People’s Deputies led by its President, Ruslan Khasbulatov, promoted a project of Parliament domination, while the side of the President of the Federation promoted a project of President domination. On both sides, empirical and theoretical patterns of constitutional law were exploited and their true meanings betrayed. Between these two sides, the Constitutional Commission created by the Congress of People’s Deputies, through its several drafts, tried to find a balanced design on the basis of foreign patterns and of the science of constitutional law. Finally, on the side of the President there was success in making its conceptions prevail, within a Constitutional Conference organized in June 1993, but mainly through its political victory of October 1993. The text passed on 12 December 1993, very much in favor of the Presidency, can be considered as the heir of this conflict, but as well partly as the heir of Russian and Soviet political traditions.

Syftet med denna fallstudie är att visa på en ökad förståelse kring regeringschefers förmåga att skapa förtroende sin kriskommunikation. Uppsatsen undersöker de tal till nationen som hölls av Sveriges statsminister Stefan Löfven och Storbritanniens premiärminister Boris Johnson vid Covid-19 pandemin under våren och hösten 2020. Uppsatsen utgår från ett retoriskt perspektiv och undersöker talens innehåll utifrån dess transkriberingar. Analysen utgår från uppsatsens teoretiska perspektiv som innefattar retorikens olika delar, appellformer och stilfigurer. Den utgår även från den retoriska situationen. Metoden som används är retorisk analys och utgår från uppsatsens disposition, argumentation, stil och retoriska situation. Den retoriska analysen skapar möjligheten att analysera och tolka talen både i sin helhet men också genom meningar, ord och tecken. Vidare diskuteras resultaten utifrån tidigare forskning och teoretiska perspektiv med ett fokus på politiskt förtroende och kriskommunikation.   Uppsatsen finner resultatet att regeringscheferna använder samtliga retoriska verktyg som undersöks i sina tal. Det framgår även att dessa verktyg används av regeringscheferna i syfte att öka förtroendet för dem som regeringschefer. Utifrån tidigare forskning går det se att både Löfven och Johnson fick ett ökat förtroende en kort tid efter att de första talen genomfördes, vilket indikerar att regeringscheferna kan ha lyckats uppnå ett förtroende genom sin kriskommunikation. / The aim of this case study is to gain more understanding of the head of government's ability to create trust in their crisis communication. The essay examines speeches to the nation, given by the Swedish Prime Minister Stefan Löfven and the British Prime Minister Boris Johnson, during the Covid-19 pandemic in the spring and fall of 2020. The essay uses a rhetorical perspective and examines the content of the speeches based on their transcripts. The analysis is based on the theoretical framework of the essay, which includes the rhetorical theory, three modes of persuasion and the figures of speech. It is also based on the rhetorical situation. The rhetorical analysis is the method used in the case study which focuses on the speech's disposition, argumentation, style and rhetorical situation. The rhetorical analysis makes it possible to analyze and interpret language both in its ensemble, but also through sentences, words, and signs. Furthermore, results based on previous research and theoretical perspectives are discussed with a focus on political trust and crisis communication.   The essay concludes that both Löfven and Johnson use all the rhetorical tools that are examined in their speeches. It is also clear that these tools are used by Löfven and Johnson to gain trust as Heads of Government. Based on previous research, it can be seen that both Löfven and Johnson gained increased trust shortly after their speeches were given, which indicates that the heads of government may have succeeded in gaining confidence through their crisis communication.

Thesis (MA (English))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: This thesis will examine representations of the Rwandan genocide and its aftermath in selected literary and filmic narratives. It aims in particular to explore the different ways in which narrative devices are used to convey trauma to the reader or viewer, thus enabling them to bear witness to it. These include language, discourse, image, structure and perspectives, on the one hand, and the framing of the genocide on screen, on the other hand. The thesis argues that these narrative devices are used to provide partial insight into the trauma of the genocide and/or to produce empathy or distance between readers and viewers and the victims, perpetrators and survivors of the genocide. Particular attention is paid to the ways in which the selected novels and films advance the human dimension of the genocide. This will shift both victims and perpetrators out of the domain of statistics and evoke emotional engagement from readers and viewers. The thesis argues for the importance of narrative in bearing witness to trauma, particularly due to its unique ability to forge an emotional connection between reader or viewer and character. The primary texts analysed in the thesis are the novels Inyenzi: A Story of Love and Genocide by South African author Andrew Brown and Murambi, The Book of Bones by Senegalese author Boubacar Boris Diop, along with the films Shooting Dogs, directed by British Michael Caton- Jones, and Hotel Rwanda, directed by American Terry George. In addition to considering the use of narrative devices to produce empathy and engagement among readers and viewers, the thesis explores also the implications of the various outsider perspectives of the writers and film-makers, and the effect that this has on their narratives, not least given the role played by the world community in failing to avert the genocide . / AFRIKAANSE OPSOMMING: Hierdie tesis ondersoek die voorstellings van Rwanda volksmoorde en die nagevolge in geselekteerde narratiewe tekste en rolprente. Die tesis poog om op verskillende maniere ondersoek in stel na die narratiewe middels om die trauma oor te dra na die leser en kyker. Dit sluit taal, diskoers, beelde, struktuur en perspektiewe aan die eenkant, en verfilming op die skerm aan die anderkant. Die tesis argumenteer dat narratiewe middels verskaf gedeeltelike insig van die trauma van die volksmoorde en/of genereer empatie of afstand tussen leser en kyker en die slagoffers, skuldiges en die oorlewendes van die volksmoorde. Aandag sal veral gegee word op welke wyse die geselekteerde romans en rolprente die menslike dimensie van volksmoord bevorder. Beide die slagoffers en skuldiges word uit die ondersoekterrein van statistieke geskuif en daar gaan gefokus word op die uitlok van emosionele betokkendheid van lesers en kykers. Die tesis argumenteer vir die belangrikheid van die narratief om as getuienis op te tree van trauma – veral as gevolg die unieke vermoë om tussen die leser of die kyker en die karakter emosionele bande te smee. Die primêre tekste wat in hierdie tesis geanaliseer word, is die romans, Inyenzi: A Story of Love and Genocide deur Suid-Afrikaner Andrew Brown, Murambi, The Book of Bones deur Senegalese skrywer Boubacar Boris Diop, en die rolprente Shooting Dogs, onder leiding van die Brit, Michael Caton-Jones en Hotel Rwanda, onder leiding van die Ierse, Terry George. Afgesien van die gebruik van narratiewe middels om empatie en betrokkenheid van lesers en kykers te genereer, ondersoek die tesis ook die implikasies van die onderskeie buitestaander perspektiewe van die skrywers en rolprentmakers en die effek op hulle narratiewe – veral die rol wat hulle speel in die wêreldgemeenskap om volksmoorde te voorkom.

Esta tese discute como Brasil e Portugal abordam em suas representações literárias o imaginário que envolve a Segunda Guerra Mundial. O estudo volta-se ao aspecto do combatente brasileiro em solo italiano, “o pracinha”, e à perspectiva do refugiado, vítima das perseguições antissemitas, que buscou asilo em terras lusitanas. Para tanto, procede-se ao exame das obras de Boris Schnaiderman, Guerra em surdina, e de Roberto de Mello e Souza, Mina R, no âmbito brasileiro. As narrativas analisadas no panorama português são “Nasci com passaporte de turista” e O cavalo espantado, de Alves Redol, “O mundo perdido”, de Joaquim Paço d’Arcos, e Sob céus estranhos, de Ilse Losa. De um lado, vislumbra-se a guerra em funcionamento, apontada nos romances brasileiros através da experiência coletiva e da experiência individual dos soldados (agentes e vítimas do aparato da guerra). De outro lado, aponta-se as consequências da guerra por meio dos desterrados que chegaram a Portugal e assumiram a voz narrativa para relatar suas trajetórias, o que se compreende como “a escrita do refugiado”.Os efeitos da guerra também são apresentados através do relato feito pela alteridade, destacado aqui como “o refugiado na escrita”. O aporte teórico conta, entre outras referências, com o artigo de Fredric Jameson, War and representation (2009), como suporte para a análise das representações bélicas nas duas literaturas. A partir disso, os retratos da guerra, apreendidos por meio do corpus selecionado nessa tese, exibem irascibilidade, desumanização e descaso como características desse “tempo sombrio” (ARENDT, 1991), além de abordarem o desalento próprio àqueles que passaram por vivências aterradoras, sejam eles os combatentes – como no caso brasileiro –, sejam os fugitivos das perseguições antissemitas – como no português. / This thesis discusses how Brazil and Portugal approach in their literary representations the imaginary that involves the Second World War. The study turns to the aspect of the Brazilian combatant on Italian soil, “the pracinha”, and the perspective of the refugee, a victim of anti-Semitic persecutions, who sought asylum in Lusitanian lands. To do so, the works of Boris Schnaiderman, Guerra em surdina, and Roberto de Mello e Souza, Mina R, are examined in the Brazilian context. The narratives analyzed in the Portuguese panorama are “Nasci com passaporte de turista” and O cavalo espantado, by Alves Redol, “O mundo perdido”, by Joaquim Paço d'Arcos, and Sob céus estranhos, by Ilse Losa. On the one hand, we can see the war in operation, pointed out in the Brazilian novels through the collective experience and individual experience of the soldiers (agents and victims of the apparatus of war). On the other hand, the consequences of the war are pointed out by the exiles who arrived in Portugal and took the narrative voice to report their trajectories, which is understood as “the writing of the refugee”. The effects of war are also presented through the account of alterity, here described as “the refugee in writing”. The theoretical contribution counts, among other references, the article by Fredric Jameson, War and representation (2009), as support for the analysis of warlike representations in the two literatures. From this, the portraits of war, seized through the corpus selected in this thesis, exhibit irascibility, dehumanization and neglect as characteristics of this “dark time” (ARENDT, 1991), as well as addressing the self-despondency of those who have experienced frightening experiences, be they combatants – as in the Brazilian case – are the fugitives of anti- Semitic persecutions – as in Portuguese.

Esta tese discute como Brasil e Portugal abordam em suas representações literárias o imaginário que envolve a Segunda Guerra Mundial. O estudo volta-se ao aspecto do combatente brasileiro em solo italiano, “o pracinha”, e à perspectiva do refugiado, vítima das perseguições antissemitas, que buscou asilo em terras lusitanas. Para tanto, procede-se ao exame das obras de Boris Schnaiderman, Guerra em surdina, e de Roberto de Mello e Souza, Mina R, no âmbito brasileiro. As narrativas analisadas no panorama português são “Nasci com passaporte de turista” e O cavalo espantado, de Alves Redol, “O mundo perdido”, de Joaquim Paço d’Arcos, e Sob céus estranhos, de Ilse Losa. De um lado, vislumbra-se a guerra em funcionamento, apontada nos romances brasileiros através da experiência coletiva e da experiência individual dos soldados (agentes e vítimas do aparato da guerra). De outro lado, aponta-se as consequências da guerra por meio dos desterrados que chegaram a Portugal e assumiram a voz narrativa para relatar suas trajetórias, o que se compreende como “a escrita do refugiado”.Os efeitos da guerra também são apresentados através do relato feito pela alteridade, destacado aqui como “o refugiado na escrita”. O aporte teórico conta, entre outras referências, com o artigo de Fredric Jameson, War and representation (2009), como suporte para a análise das representações bélicas nas duas literaturas. A partir disso, os retratos da guerra, apreendidos por meio do corpus selecionado nessa tese, exibem irascibilidade, desumanização e descaso como características desse “tempo sombrio” (ARENDT, 1991), além de abordarem o desalento próprio àqueles que passaram por vivências aterradoras, sejam eles os combatentes – como no caso brasileiro –, sejam os fugitivos das perseguições antissemitas – como no português. / This thesis discusses how Brazil and Portugal approach in their literary representations the imaginary that involves the Second World War. The study turns to the aspect of the Brazilian combatant on Italian soil, “the pracinha”, and the perspective of the refugee, a victim of anti-Semitic persecutions, who sought asylum in Lusitanian lands. To do so, the works of Boris Schnaiderman, Guerra em surdina, and Roberto de Mello e Souza, Mina R, are examined in the Brazilian context. The narratives analyzed in the Portuguese panorama are “Nasci com passaporte de turista” and O cavalo espantado, by Alves Redol, “O mundo perdido”, by Joaquim Paço d'Arcos, and Sob céus estranhos, by Ilse Losa. On the one hand, we can see the war in operation, pointed out in the Brazilian novels through the collective experience and individual experience of the soldiers (agents and victims of the apparatus of war). On the other hand, the consequences of the war are pointed out by the exiles who arrived in Portugal and took the narrative voice to report their trajectories, which is understood as “the writing of the refugee”. The effects of war are also presented through the account of alterity, here described as “the refugee in writing”. The theoretical contribution counts, among other references, the article by Fredric Jameson, War and representation (2009), as support for the analysis of warlike representations in the two literatures. From this, the portraits of war, seized through the corpus selected in this thesis, exhibit irascibility, dehumanization and neglect as characteristics of this “dark time” (ARENDT, 1991), as well as addressing the self-despondency of those who have experienced frightening experiences, be they combatants – as in the Brazilian case – are the fugitives of anti- Semitic persecutions – as in Portuguese.

Syftet med följande undersökning var att analysera korrelationerna mellan valkampanjerna Britian Stronger In Europe och Vote Leave, Take Back Control i förhållande till retorikens tre element ethos (trovärdighet), logos (förnuft) och pathos (känslor). Utifrån en kvalitativ innehållsanalys har valkampanjernas dokument, rapporter, affischer, tal och videoklipp analyserats för att presentera korrelationerna faktorerna emellan. Undersökningen kommer fram till att valkampanjen Britian Stronger In Europe och dess kampanjmaterial gick att korrelera till samtliga retoriska element, medan Vote Leave-kampanjen enbart gick att korrelera till ethos- och pathos-elementen. Anledningen till detta berodde på att Vote Leave-kampanjen inte utgick från något tillförlitligt material för att styrka sitt ställningstagande i relation till Storbritanniens medlemskap i EU, vilket var ett krav för att uppfylla logos-elementets kännetecken. Detta till trots, lyckades Vote Leave-kampanjen gå segrande ur den brittiska folkomröstningen med 52 % av rösterna gentemot Stronger In-kampanjens 48 %.